Salon Inspiration: Jennifer Aniston

1.
Shoulder-Length Waves

Aniston lightened up her dark lob for the premiere of fiance Justin Theroux's film The Leftovers, adding subtle face-framing highlights.

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2.
Jennifer Aniston

Aniston returned to her original, darker brown hue for her upcoming role in Cake. Turns out, it's a move she'd been itching to make, declaring back in March 2012, “I've been thinking about dyeing my hair a dark brown because I feel it would be healthier—it's my natural color. Highlighting can be so damaging.”

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3.
Brightened Layers

The star opted for bronzed skin and brighter highlights for the Toronto International Film Festival premiere of Life of Crime.

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4.
Side Part

Aniston strayed from her slick straight strands with a generous side part at the German premiere of We're the Millers.

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5.
Shaggy Bob

Of this look, the actress told us, “The real reason I cut my hair? My real hair was getting thinned out again from all the extensions. It was starting to look fake."

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6.
Braid

While we loved this bohemian-esque style, Aniston feels differently, saying, "I would like this a little messier. Maybe it was the dress-something didn’t quite work.”

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7.
Beachy Waves

The star has perfected the look of undone waves, showing its versatility at many red carpet premieres throughout the years.

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8.
Uniform Lob

While the actress has rarely strayed from her shoulder length hair, this cut was out of necessity. "I had glued in extensions for Rock Star, and when we took them out, my hair was destroyed. So we chopped it all off."

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9.
The Rachel

Of the iconic 1995 cut, Aniston's longtime hairstylist Chris McMillan says, "It was a fluke. She was growing out her bangs, so I just layered her hair around them."

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10.
All Natural

Following roles in several ill-fated television shows, including an adaptation of Ferris Bueller’s Day Off, Aniston’s luck (and hair) would soon change when cast as Rachel Green in the hit sitcom, Friends.

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Shoulder-Length Waves

Aniston lightened up her dark lob for the premiere of fiance Justin Theroux's film The Leftovers, adding subtle face-framing highlights.